nanushka

She didn't. I'm pretty sure that was the point. Anyone with 1.8M Instagram followers who's been paying any attention over the past decade knows that when a celebrated person with such a mass following of passionate fans singles out an individual (not an institution) on social media for a racially (or politically, or in some other way) offensive act, that individual will be subject to pretty intense harassment. The examples are numerous, if not innumerable. Of course she's not required to be a perfect spokesperson. But as a public figure she is not exempt from criticism, and she has a responsibility to use her very powerful public voice with care — and to acknowledge mistakes such as this one.

Nope. Nor did the person you quoted say that she did. I completely agree.

I don't understand why it has to be an either/or. The photo that Copeland posted is, in my opinion, disgustingly offensive. But I do not think she should have included the girl's IG handle in her post, and I think she should have and could have thought about the reaction it would provoke. (I assume we've all heard stories about what can happen to people who get "picked on" by masses of strangers on social media.) It is very possible to share both those beliefs. Misty Copeland doesn't deserve to be either vilified or defended at all costs, in my opinion.

As far as I can tell: no one is calling Misty Copeland a villain; no one is saying that everything is her fault; no one is suggesting she should be punished; no one is suggesting she is looking for someone to harass (or even that she harassed the young Russian dancer whose picture she reposted). These are all attacks on straw people. ETA these to the list:

Was that after the photo got all the attention it did from Copeland's bringing attention to it? If so, I'm not sure what the implied significance is. Once it blew up, it would obviously show up in the suggested posts for many who follow other accounts with dance-related content.

Personally, that’s not at all what I think, and as I read others’ comments on here, I’m not sure anyone thinks that. I could be wrong. Not every game is zero sum.

100%.

She obviously did not "send the masses to do" anything at all. That said, a woman with 1.8 milion Instagram followers should well know what would happen to the Instagram user whose handle she reposted, given that the image was racially offensive. I'm guessing it was very clear from the girl's profile (now deleted, and I never saw it) that she was quite young and was one of the dancers pictured.

I remember reading his book Subsequent Performances in college and finding it very thought-provoking. Seems to be out of print, but I'll have to get my hands on a copy again.

I just received the Fall–Winter 2019 issue, which we thought would be the last, but I see the link posted at the top of this thread now has a message saying there will also be a Spring–Summer 2020 issue, due to the large amount of material they had available.

Yeah, in my experience the capitalization varies quite a lot on both sides of the Atlantic.

I recall from reports last year that Forster and Shevchenko nailed it.

The adult dancers are basically a fantasy projection (at least that's my interpretation) of the young Clara and Prince. They're obviously meant to double the children, as their adult counterparts. It's a pretty great solution to the (I think) inherent narrative problem of the ballet — i.e. that the most emotionally impactful dancing is done by ceremonial characters, unless adults play the children, which doesn't really work.

Right, I figured you had in mind mostly the more extensive (and single-foot) sort. Was just thinking, though, that they can at times be used to finer aesthetic effect. Unlike in Giselle, I find the ones in Ballo to be quite dancerly. Completely agree on the first point. On the second, though, were the expanding hops on pointe added for TV as well? I didn't recall that. In any case, they're still a fine addition to the choreography, I'd say.

I think the ones in Ballo Della Regina, at least, have tremendous aesthetic benefit, but that’s of course a subjective opinion. (And I suppose hops on both pointes may not be quite as painful.) Also the corps ones in final movement of Concerto Barocco.

Oh my. Domingo says that "gallant gestures are viewed differently nowadays."

An IG clip of Abrera and Forster rehearsing the Seasons PDD that connects to a complete video: I love how much the man really gets to dance throughout, in addition to partnering.

I'm pretty sure it's been done within the past decade. I saw it once, but I don't remember much about it. I was quite new to Balanchine then, and had mostly experienced classical ballet. I didn't like it at the time, I recall, though I might like it better now. I've been meaning to give this video a watch.

In my experience, hyphenated names are not uncommon among American millennials (especially those with upper-middle class, coastal, urban/surburban backgrounds), whose mothers have more often retained their "maiden" names (awful term) than those of earlier generations, and whose parents presumably wish their children to have both family names. In other words, I've known a lot of younger people who have had hyphenated names since birth. Intent vs. impact, ya know? Pretty clearly, Danchig-Waring was impacted, and in an apparently not wholly positive way: As for "just a social media post" — this is a repeated ("He does it a lot") bit of "cuteness" by the recent chief dance critic of the New York Times, and social media is no longer on the peripheries of the cultural conversation, so I'm in agreement with others who see this as self-indulgent, tiresome and discourteous.

Mozart's "Haffner" Serenade K.250 (eight movements, about 50 min.) was written as entertainment for wedding festivities, and when hearing it I always think it'd be lovely in the context of a reception or the like. (I always imagine an outdoor summer evening.) It's not necessarily music one wants to sit and listen to straight through in a concert hall, but it's quite lovely, including a multi-movement violin concerto of sorts:

It's not, as Trenary's post clarifies:

Yeah, I really don't think those videos should be construed as an audition for the ballerina role, given that she just recently performed the demi (no?), and so it's no surprise that material from that role would be showing up in her feed.

I agree. That looked much better than most ABT Balanchine. And I'd hate to see that work go completely out of the repertoire of a NYC company, however unlikely it may be that they'll do it again very soon.

I'd be surprised by a guest artist, since it's on tour, but a Shevchenko/Royal/Hurlin cast (since all three are TBA) seems quite possible.

I wouldn't call that "spring," but I suppose that might be what she has in mind.